by Mike Mineo

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30. Air France – No Way Down EP

This feature may be called the “Top 50 Albums of 2008”, but the title alone does not give me enough justice to dismiss arguably the finest EP of the year in Air France’s No Way Down. Throughout the six tracks and 23 minutes that make up this fine EP, the Swedish duo crafts an audible world that is both magical and enlightening, with the effective atmospheric capabilities displayed being reminiscent of the Avalanches’ classic Since I Left You in its ambitious sample-led scope and sheer melodic aptitude. With twittering brass, sweeping strings, radiant synthesizers, and a variety of samples that are often comprised of pleasant sounds like the chirping of birds or the sounds of a seashore, No Way Down takes the listener to a world where relaxation and lighthearted innocence are at the forefront. A track like “No Excuses”, with its reflective keys and heavy chorus, sounds like it would be perfectly associated with the joyful state of a party-filled tropical island, while “Collapsing at Your Doorstep” invokes a similar fantasy world-setting that proves to be more emotionally resounding with a vocal sample and accompanying strings that are gradually accompanied by an evolving use of percussion, bass, and guitar. The prominent samples throughout “Collapsing at Your Doorstep” (taken from the ’80s TV series “Beauty and the Beast”) all feature the voices of children, a remarkably effective technique that perfectly initiates the feelings of that certain period in childhood when innocence allowed even the most trivial thing in life to utterly amaze you. The brilliant “June Evenings” sees the group increase their focus on pop music while still maintaining their atmospheric ingenuity. The instrumentation is more vigorous, but certain effects like the melodic whistling during the chorus, the subtly enriching bass line, and the calming female vocals that consume the verses make “June Evenings” one of the best tracks of the year. Forget the fact that No Way Down is too short to be a full-length; it is truly one of the most innovative releases of the year, EP or not.

Air France – June Evenings

Air France – Collapsing at Your Doorstep

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29. Sigur Rós – Með suð í eyrum við spilum endalaust

When attempting to describe the work of Sigur Rós, I have come across many people who opt to jump right into the fact that the Icelandic four-piece occasionally sing in Vonlenska, a made-up language concocted by the band’s members. Frontman Jónsi Birgisson has explained time and time again that it is purely meant to act as a melodic aid for the voice in songs where lyrical content is deemed irrelevant in comparison to the harmony and level of ardency that the vocals emit. Birgisson’s explanation is certainly a better indication of Sigur Rós’ method of success than those who only know the group for overly exposed linguistic purposes. What remains true is that Sigur Rós are one of the most emotionally demanding acts of the decade, and it is the reason why they have become so influential to western fans and artists alike who cannot understand a lick of what Birgisson is saying. This emotional leverage that the powerful instrumentation conveys is comparable to the role of classical music during the Romantic period, a very common comparison that is synonymous with the group’s classical and minimalistic influences. The group’s fifth album, Með suð í eyrum við spilum endalaust, is a continuation upon their expectedly domineering orchestral instrumentation, though it also sees them shying away from the minimalistic concepts that were so abundant during their first few albums. This is best seen on “Gobbledigook” and “Inní mér syngur vitleysingur”, where a brisk progression of keys commands perhaps the most playful melody that the group has written. Strings make their emergence during the second verse, but they are now a supplement of the keys rather than an unavoidable force. While there is certainly a heavier emphasis on brisk keys and traditional guitar progressions throughout the album, tracks like the ethereal “Góðan daginn” and the epic build-up of “Festival” are a return to Sigur Rós’ classic mold. The true beauty of Með suð í eyrum við spilum endalaust, though, is that the group is able to succeed in both new and old stylistic endeavors.

Sigur Rós – Gobbledigook

Sigur Rós – Góðan daginn

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28. Hercules and Love Affair – Hercules and Love Affair

Though his talented songwriting is worth considerable praise alone, fans of Antony Hegarty often find it easiest to distinguish the English singer/songwriter by his voice, an enjoyably unique feature that ranges several octaves and encompasses a striking delivery that is practically impossible to rival. It is the type of voice that sounds good over any style of music accompanying it, mainly because of the raw skill and emotional capacity Antony pours into it. Recognizing the vocalist’s talent, Andrew Butler wrote “Blind” and showed it to Antony in 2003 with the intent of getting him to do the vocals. The two finished the track and then pushed it aside, planning to come back to it later. It was not until a year later when the urgings of Antony encouraged Butler to revive the track and perhaps an entirely new project altogether, resulting in the eventual birth of Hercules & Love Affair. As can be heard on their eponymous debut, Butler’s emphasis on dance and disco presents wildly exciting circumstances for Hercules & Love Affair, especially considering that he has the help of Antony, who adds his vocals to half of the tracks on Hercules & Love Affair’s debut. Those accustomed to Antony’s delicate piano-laden ballads may find it initially difficult to grasp the new style, but Antony does a remarkable job throughout the release and simply solidifies the belief that his vocal delivery sounds good over just about anything. Raise Me Up”. It illustrates Butler’s sensational songwriting, Tim Goldsworthy’s sparkling production, and Antony’s invigorating vocal form in simultaneously impressive form, with the constant urging of a seductive bass line being the underlying factor of remembrance. Antony soulfully croons over the simplistically powerful rhythm section during the song’s first several moments, all until a lethal hook is introduced by the impulsive offerings of brass and keys. The chorus sees an expansion of instrumentation over a handful of vocal tracks, all being highlighted by Antony’s soaring vocals. Both the chorus and verses are equally irresistible, being reminiscent of quality disco and dance in more ways than one. “Blind” is the most recognizable Hercules & Love Affair track for good reason, with its variety being the most alluring element. For all six minutes it remains unpredictable, exciting, and bursting with an array of engaging hooks. The only repetition is intentionally done so in order to relive highlights; Butler does not waste time repeating moments worth forgetting on this remarkable debut.

Hercules and Love Affair – Raise Me Up

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27. Okkervil River – The Stand Ins

Like David Berman and Mark Eitzel, Okkervil River frontman Will Sheff has a growing reputation as one of the most poignantly effective lyricists in indie-rock. As Okkervil River’s album last year, The Stage Names, displayed with its occasional metaphorical musings regarding the correlation between life as a performing artist and life’s hardships, the topics do not always have to pertain to loneliness, regret, and unrequited love to result in success (though they have always remained common themes throughout Sheff’s work). In addition, Okkervil River’s style of play has never quite coincided with the typical output of someone as lyrically inclined as Sheff. A clever fusion of folk and indie-rock, the songs are often so infectious that the irresistible melodies may tend to overshadow Sheff’s lyrical content. As a result though, the tracks have a considerable amount of replay value for the cumulative ; it is a special aspect that is displayed once again on the group’s fifth full-length album, The Stand Ins. There is no central thematic focus on The Stand Ins when compared to the constant perceptions of pop culture throughout The Stage Names, but Sheff’s multifarious ability to write consuming songs and lyrical additives that involve real-life circumstances carries the album to similar heights. “Singer Songwriter” sees one of the band’s folkier efforts come to life as Sheff relays the expectations involved in a monetarily successful family. “You come from wealth, yeah you got wealth,” he sings. “What a bitch they didn’t give you much else.” As far as establishing classics goes, “Lost Coastlines” is one of the best efforts Okkervil River have released with its mixture of throwback pop and indie-rock. Sheff lowers the pitch of his voice slightly during a chorus that is backed heavily by a bass line that sounds like it was borrowed from some ‘60s pop classic. He brings his voice back to normal range when the energetic chorus enters and a series of “la la la” outbursts are accompanied by a fleetful guitar and later a majestic mixture of horns and strings. As usual for this consistently excellent group, The Stage Names is another enjoyable addition to Okkervil River’s glowing discography.

Okkervil River – Lost Coastlines

Okkervil River – Singer Songwriter

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26. Explorers Club – Freedom Wind

Most artists who rely on an outdated style to achieve success are often left in the dust, realizing that their primary mistake lied in not attempting any form of innovation that would uniquely captivate the listener. I doubt that you will ever read a review or feature about The Explorers Club that does not mention Brian Wilson or The Beach Boys, but the South Carolina-based seven-piece manages to pull it off so ingeniously that their own originality shines through on every track throughout their debut, Freedom Wind. “Don’t Forget the Sun” is a perfect example of why The Explorers’ Club take on nostalgic ’60s pop is one of the best interpretations of the past several years. The overlapping vocal harmonies that take place during the track resembles Wilson’s most melodically invigorating moments, with the warm clap-based rhythm section, sprinkling of keys, and sporadic bursts of brass attributing to the immediate infectiousness as well. Three members in The Explorers Club share vocal duties and they do a fantastic job all throughout the album, most notably on “Hold Me Tight”, the lush “Safe Distance”, and the twangy “In the Country”. All of them look to be in their 20s as well, making their ability to capture the greatest moments of ’60s pop and surf-rock even more impressive. Many of those who were already familiar with The Explorers Club will also recognize “Forever”, a track from their debut EP that seemed to capture the most buzz among music publications. Its contemporary take on ’60s pop makes “Forever” somewhat reminiscent of That Thing You Do! soundtrack and other somewhat recent movies whose scores are focused on an accessible vein of throwback pop, which also means that visions of The Beach Boys, The Beatles, and The Zombies remain heavily prevalent in the process. Soaring falsettos, big-time hooks, and grandiose choruses… they can all be found on Freedom Wind, one of the most delightfully consuming debut albums of the year.

The Explorers Club – Don’t Forget the Sun

The Explorers Club – Forever

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25. Xiu Xiu – Women As Lovers

When frontman Jamie Stewart announced late last year that Xiu Xiu’s sixth studio album, Women as Lovers, would be “more approachable or communicative on a basic human level” than any of the band’s previous releases, a substantial number of fans likely scratched their heads in disbelief. After all, it had always been a form of anguished unpredictability that made Xiu Xiu a contemporary staple in the genre of experimental art-rock, with additional unconventional structural techniques making compatible similarities to other artists seemingly impossible. With past lyrical content that included perverse sexual fantasies, grotesque fetishes, and descriptive violence—often supplemented by instrumentation that would be easily classified as avant-garde—Stewart has always been rightfully credited as being a poetically brilliant lyricist, with an ability to write songs that treat the listener to simultaneous feelings of heartrending romanticism and uneasiness difficult to match. Such history can beg a simple question: Just how “more approachable” is Women as Lovers when compared to Xiu’s Xiu’s past releases? The album’s most accessible and initially satisfying track, “No Friends Oh!”, serves as excellent indication of the group’s efforts to promote this new emphasis. Apart from showcasing some of Stewart’s most fulfilling songwriting of his career, the song serves as a nostalgic reminder of Xiu Xiu tracks where pop-oriented hooks reigned supreme over eerily sparse instrumental content. It beckons accessibility in the same way that “Save Me Save Me” and “I Luv the Valley Oh!” did, mixing unpredictably appealing verses with a consistently explosive chorus of epic proportions. “Tommy and Dan, you can’t hold hands”, Stewart sings in his lovably torturous croon during the chorus, enhanced by an remarkably layered brass progression that remains slightly out of key for rewarding effect. “Who cares you’re gay / But it’s your age / No friends oh”. Like the lyrical content on “No Friends Oh!”, a common theme throughout Women as Lovers appears to be the vile form of corruption that society has on the children that are forcibly exposed to it. With a chilling organ and delicate guitar progression, “Black Keyboard” relays the tarnishing effect on a child in a home of vile mental and sexual abuse. “Be free, laugh at your son / A child is nothing without hate”, Stewart sings, with a touch of sarcasm ringing in his quivering vocals. He coaxes up imagery throughout the album in tragically impressive form, whether it be of a child being pushed on a swing by a deranged mother on “Black Keys”, an infant who dies of parental neglect in “Gayle Lynn”, or the social reject who pops both Percocet and pimples on “White Nerd”. Though few would have predicted that Xiu Xiu would increase their already empowering form of ambitiousness, Women as Lovers capitalizes on it as yet another bold and consistently satisfying release in Xiu Xiu’s discography. Like its preceding releases, Women as Lovers is a grower that will warmly reward listeners who give it the time it deserves.

Xiu Xiu – No Friend Oh!

Xiu Xiu – I Do What I Want, When I Want

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24. Paul Weller – 22 Dreams

Upon reflection of Paul Weller’s respectable career, it makes little sense why he would feel any incentive to release a sprawling album like 22 Dreams, the lengthiest and arguably most stylistically diverse album of his 30+ year span as a songwriter. After all, anyone with even the slightest understanding of The Modfather’s illustrious discography as both a solo artist and frontman of The Jam and The Style Council would already recognize him as being one of the most successfully eclectic songwriters to come out of England in the past several decades; he simply has nothing left to prove. He is a passionate musician though, and thankfully for all of us he has been ceaseless in his work. Weller’s ninth solo album, 22 Dreams, manages to simultaneously capture glimpses of his stylistic past while introducing a batch of newly attempted styles to the mix. Considering that the album boasts over 68 minutes of new material that spans over two discs, there is plenty of room for it too. An accustomed format for contemporary double albums has been for one side to inherit the louder and more instrumentally involved tracks, with the other side being more depictive of an artist’s subdued side. Rather than abiding by such limited conventionalism, Weller has created a cohesive flow that allows his multifarious vision to flourish without stylistic repetition bogging it down. Weller had intended 22 Dreams to be a thematic attempt at capturing the changing of seasons and the structure alone does a remarkable job of that; the subtleties are displayed through the transitional tendencies of each proceeding track. The first several tracks commendably serve as the introductory indication of Weller’s diversified approach on the album; “Late Nights” is an acoustically charged folk ballad with Celtic ties, “22 Dreams” and “All I Wanna Do (Is Be With You)” are traditional radio-friendly Weller solo tracks in their infectious uses of R&B and traditional British rock, and “Have You Made Up Your Mind possesses an irresistible chorus that demonstrates Weller’s knack for soul and rock. In fact, if organs and keys had a more active role in “Have You Made Up Your Mind”, it would serve as the most distinctive reminder of The Style Council’s lovable flair. The latter end of the second disc takes a more experimental turn, seeing Weller turn to the workings of a piano ballad in “Invisible”, the spoken-word acoustics of “God”, and the electronic ambiance of “111”. What tracks like these have done is separate Weller from the clichéd alternative-rock that other aging artists put out shamefully these days. The difference with Weller is that he has maintained a majestic vision that is consistently worthy of production for over 30 years, a sentiment illustrated deeply on 22 Dreams Apart from being the most eclectic and resourcefully imaginative solo album of Weller’s career

Paul Weller – Push It Along

Paul Weller – 22 Dreams

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23. Nick Cave and the Bad Seeds – Dig, Lazarus, Dig!!!

If someone were to ask me to associate the word “prolific” with any contemporary artist, there is a reasonable chance that Nick Cave would be the first name that came to my mind. I am certainly not alone on this either, as the Australian songwriter has been one of the most critically acclaimed artists since his first solo release in 1984. Prior to that, his existence as the frontman for gothic post-punkers The Birthday Party proved to be merely a preview of one of our generation’s most talented and topically multifarious songwriters. This acclaim is impressive for several reasons, the most prominent being the prolific number of releases he has stringed together since the mid ‘80s. It has become a common practice for Cave to release a new album every one or two years, making it astonishing that there is not one album out of his dozen or so that can be called a failure or even mediocre. With that being said, the fact that Dig, Lazarus, Dig!!! is one of his most accomplished releases is very impressive. While it does not echo the elegant morbidity of classics like The Boatman’s Call, its sharp production and high involvement of guitars and organs remains somewhat reminiscent of another Cave classic in Let Love In. The focus of several songs coincides with Cave’s trademark scenarios of the bizarre, broken hearted, and religiously overzealous, while his fusion of rock, gospel, and blues is also at the forefront. The stylistic variation presented in each track providing the utmost suitability for the topic at hand, like in the brooding “Jesus of the Moon” where thick acoustics and menacing strings complement religious allusions that foreshadow an apocalypse of some sort, most likely pertaining to romance. In terms of livelier but just as successful efforts, “Today’s Lesson” is led by a thunderous bass line and droning keyboard that emits pure infectiousness. The topic here is an ambiguous and ironic look at prostitution, even if Cave says bluntly that the lesson is “something about the corruption of the working class”. It is all part of his charm though, and after nearly three decades of listening to his material there are only a few people foolish enough to doubt Cave’s ability.

Nick Cave and the Bad Seeds – Today’s Lesson

Nick Cave and the Bad Seeds – Jesus of the Moon

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22. No Age – Nouns

In addition to attending free gigs that are only a few blocks away, it must certainly be a thrill to be a part of fledging local music scene. After a local band becomes massively successful, I can only imagine the feeling acquired when looking back upon the days when they were performing in a friend’s garage, simply classifying the experience as something that saw a part of a group’s evolutionary process toward productivity. Those active in Los Angeles’ scene – particularly at one of the city’s most famous venus, the Smell – have experienced local success stories before, but there were few that came close to the acclaim of No Age this year. Upon releasing their second album, Nouns, the local duo began receiving glowing reviews, resulting in a massive amount of exposure and their participation in gigs with quality acts like Times New Viking and Liars. The critical success was not much of a surprise for those who had followed the band since their 2005 inception, but the amount of listens that the album was receiving proved quite shocking considering the style of music that No Age plays. While often inventively enticing, their lo-fi interpretation of noise-rock is neither accessible nor instantaneously memorable. However, lying behind the fuzz, distortion, and repeated samples throughout Nouns, hidden gems will start to emerge with each successive listen. This is likely why the album’s recognition has only hardly faded since its May release. “Teen Creeps”, despite uneventful transitions and a repetitive melody, sounds like a lost gem from a late ’80s punk compilation with its three-chord fixtures and fuzzed production. Their use of electronic elements can be seen in the excellent “Things I Did When I Was Dead”, where the duo implements a near spoken-word set of vocals over guitars and two simultaneous samples, one of which sounds like a clown honking his nose and the other like a high-pitched . The elements within the songs are often a guessing game, but the high degree of success that often occurs is not. “Cappo” proves as one of the album’s more accessible efforts with its typical indie-rock flair, sporting a guitar-led hook in the chorus that sees a cross between grunge and power-pop. “Sleeper Hold” reaps greatly from a similar aspect with an even more explosive hook, once again hidden rewardingly over a plethora of distortion and muddled rhythm. To fully enjoy Nouns is a benefit that comes with successive listens for many people, but I can assure you that this album deserves the time required of it.

No Age – Things I Did When I Was Dead

No Age – Teen Creeps

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21. Lil Wayne – Tha Carter III

Oh, what can I possibly say about this album to justify its placement? So many things were said leading up to the anticipated release of Tha Carter III that no one knew whether it was going to be a landmark masterpiece or a colossal disaster. As it turns out, neither classification applies. To be simple, Lil Wayne’s latest is simply an extremely solid collection of songs that provides a great mixture of star-studded hip-hop (“Mr. Carter”), smoothly infectious soul and gospel (“Comfortable”), and “hip-pop” (“Got Money”, “Lollipop”) . The production is sharper, the guests are brighter, and the songs are catchier than Tha Carter III’s two older siblings, but some may debate the flow and stylistic customization of the effort. To me, the range presented does nothing but show why people are primarily attracted to Lil Wayne in the first place; whatever he says – no matter when presented over synth-based hip-hop beats or suave guitar progressions – is thoroughly entertaining. Whether he raps about fixing an uncreative hip-hop track using medical metaphors over a jazzy percussive beat in the excellent “Dr. Carter” or tunes in over Betty Wright and a guitar line very typical of the ’80s in “Playin’ with Fire”, Lil Wayne is inarguably one of the most entertaining performers active today. For material more indicative of his typical hip-hop flair, it is difficult to beat something with the insatiable flow of “3 Peat” or the hooky chorus of “Mr. Carter”. Even two of Kanye West’s cuts – “Shoot Me Down” and “Let the Beat Build” – prove engaging in seeing how Lil Wayne alters his delivery over brooding bass-led pop or sample-led soul, respectively. In each case, Lil Wayne’s output remains synonymous of his typical form, with guests like Robin Thicke taking over the choruses for an additionally focused hook. As usual though, whenever Lil Wayne appears on a track, it has a sort of quality that only he can uniquely achieve through a shockingly astute grasp on pop culture. Oh, and that little thing called skill.

Lil Wayne – 3 Peat

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The post Best Albums of 2008: #30 to #21 appeared first on Obscure Sound: Indie Music Blog.

There are only a handful of songwriters who can make the genuine transition from somber melancholy to irrepressible rage with success. It is an art in itself to audibly produce emotion, which good music does, but to demonstrate a variety of them effectively is a notable talent. Anyone can scream into a microphone to demonstrate anger or half-weep to depict melancholy; whether it comes off as a genuine meaning of expression or a fruitless attempt at bloated ardency is another story. One way to separate between fact and fiction is by examining how engrossingly unique their delivery is. Songwriters like Neil Young, Jens Lekman, and Stephin Merritt have a tendency to express their emotions and consequential scenarios in remarkably original form, regardless of how romantically frustrating or socially awkward it is. They play by their own rules and do it seamlessly, causing their genius-level status to be a generally inarguable topic of discussion. This genuine level of ardency is why I am not surprised that Todd Goldstein attempts a similar form of songwriting, a mixture of focused emotions and melodic infectiousness that complements the aforementioned range of emotions in impressive form. Additionally, to no surprise considering his admiration for artists specifically like Young and Merritt, Goldstein is a songwriter who exhibits a broad range of intelligence in both his lyrical and melodic content.

Like many new solo artists these days, Goldstein’s solo exploits began with an EP. Released in 2006 and entitled Shitty Little Disco EP, it provided a preview of sorts in what to expect from Goldstein. After all, 5 of the 7 tracks on the EP were later tweaked and appeared on Kids Aflame, his full-length debut that was released this July. Though Goldstein has been writing songs designed for his solo project, Arms, for 4 years, he has honed his experience as the guitarist for the Brooklyn-based Harlem Shakes, a five-piece that released their satisfying debut last year. A native of Brooklyn himself, Goldstein’s solo material tends to be more emotionally consuming for the most part, even if he does show similarly catchy indie-pop chops on standouts like “Kids Aflame” and “Shitty Little Disco” throughout Kids Aflame. Like Merritt’s songwriting though, it is more humorously ironic than it is melancholic. And even when he does tread rather dark waters, the situations presented usually trigger a response of riotous absurdity. Weepy ballads maintain their presence, but to call Kids Aflame a somber listen would be inaccurate. The energy on the album varies dramatically from the bustling college-rock goodness of “Whirring” to the self-explanatory acoustical musings of “Sad, Sad, Sad”, neither of which feel overwhelming nor out of place.

While it is true that Goldstein does not yet encompass the ability to put out songwriting like Merritt or Young, the comparisons are not being spouted out for nothing. If anything, Kids Aflame is a very impressive debut album that shows Goldstein’s potential as a songwriter and an innovator, as the aforementioned can be easily attributed to the stylistic diversity presented on the album. College-rock, synth-pop, acoustical folk, and southern-rock are all explored prominently at some point, none of which are stereotypical or predictable attempts. Goldstein works with all of them well, though I personally have found his folk-oriented efforts to be his strongest. The first time I heard the simplistically enchanting acoustical progression on “Kids Aflame” over Goldstein’s endearing vocals, I knew that enjoyment was imminent. Using an apparent mix of finger-snapping and muffled handclaps as percussion, Goldstein’s quivering tone sounds remarkable over the intended melody. “When the smoke finds a way to your nose, it’s telling you boy that it’s time to go,” he quivers. “Then the smell gets into your hair and clothes, oh no, oh no.” The song touches on youthful insurgence, (unfortunate) parental caution, and young love, seeing a sympathetic circumstance torn asunder by instinctual judgment. Though the lyrical content is too repetitive to be considered story-led or anecdotal, Goldstein delivers each line with a uniqueness that is respondent to the current emotional tone, establishing the content as sincere and reciprocated.

As I mentioned earlier, the bulk of Kids Aflame consists of material that differs considerably from one another. Goldstein’s vocals are consistent, often bearing a resemblance to Merritt or – even more noticeably – Michael Stipe. “Shitty Little Disco” sees this fusion succeed over a mixture of whirring synth pads and reverberating guitar lines, a style that reminds me of Echo & the Bunnymen and their stylish form of post-punk. Another striking track is “Tiger Tamer”, an effort that sees a variety of coinciding guitar progressions build up into a energetically consuming chorus. When Goldstein sings “Your daddy’s on fire, you’re mommy’s a liar” over the simultaneous clashing of percussion, I can’t help but be reminded of Xiu Xiu’s Jamie Stewart due to both Goldstein’s tone and the amount of rhythmic involvement occurring. “Whirring” is an old-time favorite for fans of Goldstein, as it was released as a 7″ in 2007 after it appeared on the Shitty Little Disco EP. Now even more polished, the Stipe comparisons are at their most prevalent, though the music style itself is indicative of a more guitar-led form of contemporary indie-rock. With other highlights like “Sad, Sad, Sad” and “Construction” also providing a large dose of variety, there are plenty of worthwhile moments on Kids Aflame to easily realize Goldstein’s potential as a songwriter.

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Arms – Kids Aflame

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Arms – Whirring

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Arms – Shitty Little Disco

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It is amazing what a simple change of scenery can do for some people. Many prefer the city, others find comfort in the suburbs, and some just require the comforting sight of stars above their restful heads. Regardless though, we all generate an idea at some point in our lives where we will find our living situation to be the most comfortable. Seeing as how many artists are distinctively influenced by the interactions and experiences that their daily life grants them, it is expectedly difficult for even the most talented of artists to produce their finest work in an environment that simply does not suit them. Some find the most ease in producing works within an area that they have grown to be familiar with for the larger portion of their lives, while others are able to adapt to new surroundings gradually in an attempt to discover their artistic peak. There is nothing wrong with either method and artists really have little choice in the matter, but the feeling of invigoration that one gets when they discover the perfect place of production is difficult to describe in mere words. Though it may sound a bit like a hyperbole, such an experience can open up a flow of ideas that consequently results in an artist’s grand achievement.

Sebastian Litmanovich, the brainchild behind Cineplexx, is extremely fascinating in the way he has involved both foreign and local distinctions in the path toward discovering his artistic pinnacle. Born in Argentina during the mid ’70s, Litmanovich’s musical influences were global ever since he was a young child. “The Velvet Underground were the first band that really blew my mind and I’ve been a fan of ABBA ever since I was four,” he readily admits. He grew up during a time in which early forms of punk were emerging onto the spotlight simultaneously with the beginnings of electronica. Though Litmanovich was a huge music fan ever since he could talk, it was not until he was a college student that he began trying his hand at the art itself. While studying abroad in New York City during 1996, he experienced something that would be considered an artistic epiphany. The sights and sounds of the big city invigorated Litmanovich to a point where he instantly became eager to produce music, turned on by the exotic lifestyle, language, and people that he was being introduced to for the first time. New York City gave Litmanovich the proper motivation to begin writing songs, but it was not until his return to his native Buenos Aires that he actually began implementing the sudden period of realization that he experienced.

After the return to Buenos Aires, Litmanovich formed a post-rock group by the name of the Amarena Incident. He also co-founded a design studio in the same year, showing both his undying love for music and visual art. The Amarena Incident proved to be short-lived but it provided Litmanovich with experience and knowledge that is generally required for most musicians to succeed in a world of constant competition. And thus, in 1998 with help from his brother Martin and a four-track, Litmanovich formed Cineplexx. It initially started out as an output for Litmanovich’s variety of arrangements, toying with styles that ranged from electronic pop to ambient blips and beeps. However, after 10 years and 5 full-length albums, his style has evolved graciously from an overwhelmingly unclassifiable form of electronica to a ravishingly woven array of both synthetic and electronic instrumental layers that results in something that is truly and uniquely beautiful. The name “Sebastian Litmanovich” may not ring a bell to many western audiences as of yet, but with the release of his fifth album, Picnic, it is only a matter of time. As far as familiar faces go, guests include Jad Fair (Half Japanese) on the self-titled track, the talented and previously featured Federico Aubele on bass during “Humedad” and “Entre Postales”, and Norman Blake (Teenage Fanclub) providing instrumentation on “Tiger Trap” with BMX Bandits frontman Duglas Stewart on vocals.

Despite the scattering of appearances from talented and reputable musicians, the most impressive thing of all on Picnic is Litmanovich’s singular ability to develop and execute a song within the realm of his own unique style. Comparisons to other indie musicians may be too much of a stretch to gather, but the one musician that Litmanovich most reminds me of is film composer Cliff Martinez. With their blend of sparse electronica soundscapes and subtle orchestral arrangements, both Litmanovich and Martinez are pure masters of their style. “Droga Paliativa” serves as a definitive example, even if it serves as one of the most accessible showcases. A variety of guitar tremolos, shrill keys, and percussion provide the main instrumental forces behind Litmanovich’s delicate vocal technique. As the steady propulsion of a backing synths contributes to the rhythm section, the song works upon the original melody into an expansion of several other instrumental progressions. The result is eerie but utterly irresistable, an aspect that can be applied when describing most of the tracks on Picnic. Apart from the cleverly serene “Tiger Trap”, most of Picnic is sung in Spanish. Considering the large doses of reverb involved, they serve simply as an additional instrument and it should most certainly not prevent those without an understanding of the language from listening to it.

“Novatone 500mg” is an instrumental effort that is just less than two minutes in length. Despite its conciseness, it really caught my attention the first time I listened to it. Litmanovich seems to develop orchestral-like arrangements with ease, using his electronica skills to turn it into something that is majestically memorable. A sprinkle of keys contrasts the use of strings very nicely, aided by hand claps and a murmured bass line. It would have been nice if the length was longer, but I suppose it was intentional in that it serves as a nice referesher by sitting in between the self-titled track and the outstanding “Droga Paliativa”. “A Mi Lado” works with a simplistic drum loop and the subdued backing of an acoustic and electric guitar. Litmanovich’s vocals are in full force here, constructing a haunting melody that complements the placid guitar arrangements nicely. Boasting plenty of memorable material with 15 tracks, Picnic may very well go down as one of the most uniquely engaging releases of the year.

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Cineplexx – Droga Paliativa

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Cineplexx – Novatone 500mg

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Cineplexx – A Mi Lado

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With more subtly infectious melodies and perversely invigorating lyrical content, Xiu Xiu continue to shine as one of the most unconventionally satisfying acts in indie music on their sixth album, Women as Lovers.

Xiu Xiu
Women as Lovers
(Kill Rock Stars)
US Release Date: 01/29/08
My review on PopMatters

by Mike Mineo

When frontman Jamie Stewart announced late last year that Xiu Xiu’s sixth studio album, Women as Lovers, would be “more approachable or communicative on a basic human level” than any of the band’s previous releases, a substantial number of fans likely scratched their heads in disbelief. After all, it had always been a form of anguished unpredictability that made Xiu Xiu a contemporary staple in the genre of experimental art-rock, with additional unconventional structural techniques making compatible similarities to other artists seemingly impossible. With past lyrical content that included perverse sexual fantasies, grotesque fetishes, and descriptive violence—often supplemented by instrumentation that would be easily classified as avant-garde—Stewart has always been rightfully credited as being a poetically brilliant lyricist, with an ability to write songs that treat the listener to simultaneous feelings of heartrending romanticism and uneasiness difficult to match. Such history can beg a simple question: Just how “more approachable” is Women as Lovers when compared to Xiu’s Xiu’s past releases?

In a probable effort to appeal to the small majority of listeners that found Xiu Xiu’s instrumental approach to be too cyclically linear, what Stewart may have been vaguely referring to is the fact that Women as Lovers sounds like the most instrumentally expansive album of Xiu Xiu’s career. Their increased implementation of brass and live drumming provides for an experience that renders more realistically capable and thus thoroughly impressive. Drummer Ches Smith makes his mark as arguably the largest reason for the slight audible transition on the album. Whether he is performing in a hastily aggressive fury in “In Lust You Can Hear the Axe Fall” or managing to keep his presence more subdued on the unsettlingly brilliant “The Leash”, the variaiton his percussion provides makes Xiu Xiu’s trademark sound even more wholesomely appealing in ardency and enthusiasm. Additionally, this form of preciseness does not even slightly detract from the band’s appeal. In fact, it makes the cause for satisfaction even stronger, as Stewart’s eccentrically addicting melodies appear more confidently supplemented than ever before.

The album’s most accessible and initially satisfying track, “No Friends Oh!”, serves as excellent indication of the group’s efforts to promote this new emphasis. Apart from showcasing some of Stewart’s most fulfilling songwriting of his career, the song serves as a nostalgic reminder of Xiu Xiu tracks where pop-oriented hooks reigned supreme over eerily sparse instrumental content. It beckons accessibility in the same way that “Save Me Save Me” and “I Luv the Valley Oh!” did, mixing unpredictably appealing verses with a consistently explosive chorus of epic proportions. “Tommy and Dan, you can’t hold hands”, Stewart sings in his lovably torturous croon during the chorus, enhanced by an remarkably layered brass progression that remains slightly out of key for rewarding effect. “Who cares you’re gay / But it’s your age / No friends oh”. The common interpretation indicates it being a romantically tragic fable of a pedophile falling in love with a young boy, though Stewart’s expectedly ambiguous use of wordplay provides cause for open interpretation. Whatever one chooses to believe, though, there is little doubt that the grim effects of society play a large role.

Like the lyrical content on “No Friends Oh!”, a common theme throughout Women as Lovers appears to be the vile form of corruption that society has on the children that are forcibly exposed to it. With a chilling organ and delicate guitar progression, “Black Keyboard” relays the tarnishing effect on a child in a home of vile mental and sexual abuse. “Be free, laugh at your son / A child is nothing without hate”, Stewart sings, with a touch of sarcasm ringing in his quivering vocals. He coaxes up imagery throughout the album in tragically impressive form, whether it be of a child being pushed on a swing by a deranged mother on “Black Keys”, an infant who dies of parental neglect in “Gayle Lynn”, or the social reject who pops both percocet and pimples on “White Nerd”.

The only foreseen hiccup on the album is “Master of the Bump (Kurt Stumbaugh, I Can Feel the Soil Falling Over My Head)”. Though it contributes to the appropriately barren atmosphere throughout Women as Lovers with a delicate mixture of subdued guitars and whirring keys, the repetition and lack of variety makes it generally monotonous. Fortunately, it is presented as the only track on the album that remains mildly uninteresting in the lyrical and instrumental aspects. It simply pales in comparison to tracks like “F.T.W.” that use a variety of unconventional production effects and samples to create a memorably appealing sound. It takes a lot to doubt a song that features an exchange of acoustical strums, erratically capricious percussion, and electronic beeps that are reminiscent of a drugged up R2-D2.

Suitably being the only track on the album that shows any signs of predictability, the cover of Queen’s “Under Pressure” (featuring Michael Gira of Swans fame) gives an enjoyable twist on the classic, with Stewart’s torturous squeals adding an entirely new twist to the song. Both “I Do What I Want, When I Want” and “Under Pressure” throw the listener into a type of free-form jazz with a brief saxophone solo. Although the style initially causes the listener to feel some slight disorientation, several listens later reveal that Xiu Xiu’s intentions are more premeditated than originally exposed. The same can be said about the “In Lust You Can Hear the Axe Fall”, an energetically consuming track that almost seems to be an ode to dark post-punk greats in the vein of Bauhaus through its use of heavily distorted guitars and bass. Stewart remains generally incomprehensible throughout his high-pitched torturous strains, and the tone is appropriate in contrast to the emotionally transitioning instrumental presentation. Through Stewart’s melodic prowess, it remains infectious and wildly successful.

Though few would have predicted that Xiu Xiu would increase their already empowering form of ambitiousness, Women as Lovers capitalizes on it as yet another bold and consistently satisfying release in Xiu Xiu’s discography. Like its preceding releases, Women as Lovers is a grower that will warmly reward listeners who give it the time it deserves. 8/10

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Xiu Xiu – No Friend Oh!

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Xiu Xiu – I Do What I Want, When I Want

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Xiu Xiu – F.T.W.

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In most forms of contemporary rock music, it is highly perceptible that mood has the ability to dictate tempo. Rock artists conventionally treat the listener to separate entities of diversity within an individual album, mixing calmer ballads with elaborately involved songs of a more chaotic nature in their attempt for fledging captivation. Just imagine how dull an album would sound if each song had the same amount of intensity. Regardless of whether each track consisted of one acoustic guitar or five electric guitars, it would be a generally unpleasant experience without the right touches of diversity. Some artists fall flat on their faces while attempting to produce the slower, more brooding songs because of their shallow emotional ability. Others cannot pull off a expeditious track because their instrumental dexterity wears thin. Unless you are looking in the direction of a one-hit wonder, it is rare to find a successful artist without the ability to write a successful song in both atmospheric aspects. The Details, as their namesake implies, pay good attention to the basics of success. Their debut album, Draw a Distance. Draw a Border., is nearly equally split between rollickingly swift rock and subdued ballads. While it may be easy to enter the production process with such a coveted plan for stylistic variety in mind, The Details actually execute it nearly faultlessly.

Hailing from Winnipeg, The Details have already begun to take Canada by storm in playing at several prominent gigs, including the 2006 Western Canadian Music Awards, Canadian Music Week 2007, New Music West 2007, and North By Northeast 2007. While traveling the snowy roads of Canada, from Vancouver to Halifax, The Details have been preparing Draw a Distance. Draw a Border. with great precision. Their first full-length release, it follows up on their five-song Marching Sound EP, released last November. Draw a Distance. Draw a Border was recorded during the arduously cold months of winter in Winnipeg. From January to April, the four members of The Details worked vigorously with producer Jack Shapira and engineer Scott Stewart, the two having over 30 years of collective experience in music production. As the snow fell rapidly outside the doors of Unison Studios in Winnipeg, The Details were in the midst of crafting an album that would hopefully earn them the highly sought recognition of being one of the latest and greatest out of the mounting Canadian music scene.

Listening to Draw a Distance. Draw a Border, it is extremely apparent that The Details have all the tools necessary to become radio darlings. While their heavier tracks border too much on an emo flavor for my own liking, there is no denying that the songs are well crafted and redeeming enough to appeal to a very large and applicable audience. Though the vocals and guitar riffs within the distorted prowess of “Reunion Souvenirs” remain too whiny, groaning, and repetitive for my personal taste, I can’t help but admire the melodic flow of the song. Even more impressive, The Details are one of those bands who actually pay close attention to their lyrical content. Both witty and intelligently thought-provoking, lyricists Jon Plett and Sean Vidal are capable wordsmiths on every track throughout Draw a Distance. Draw a Border. On the cello-aided “Capture and Develop”, lead vocalist Jon Plett manages to incorporate aspects of philosophy and modern romanticism. “Only the boldest admit what they can’t defeat,” he sings over a subdued rhythm section and a recurring guitar drone, “Every liar says what they really mean. It takes a conflict to agree and the darkness before we can ever truly see.” After the mild introduction, the song expands into a fully intricate composition full of rowdy electric guitars, fervent vocal strains, and an expertly implemented cello supplied by Jonathan Bauch. While the shrill chorus is once again bordering too much on generic emo for the song to become a true force, it is more tolerable than tracks like “Burns Much Brighter” and “Demons / Heathens”.

Apart from such stylistic hiccups, The Details’ brightest colors shine on the more delicately performed tracks, particularly the insanely catchy leading single, “Underground”. As The Details should be given some leeway considering that Draw a Distance. Draw a Border. is their first album, the eventual success of “Underground” should give the four-piece some clarification on which musical style they should confidently pursue. The harmonically irresistible swoon of “Underground” is so exceedingly brilliant compared to earlier tracks on the album; tracks in the vein of “Burns Much Brighter” that pursue volume and halfhearted angst over pure melodic force. When Plett calls out, “If you call, if you call, I will always answer you,” in the hearteningly striking chorus, there is little doubt that this is where The Details’ strength lies. Both “Underground” and the beautiful though overly titled “I Asked What We Should Do. You Said, “I Just Don’t Want to Think”” are the most patiently intertwined tracks and, by no coincidence, also the best. If The Details can repeat such successes more frequently for their next release, they can expect to be ranked among the elite of rising Canadian artists.

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The Details – Underground

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The Details – Capture and Develop

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The Details – Reunion Souvenirs

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First of all, I will reluctantly admit that the above photo is not from the newest “Fruit of the Loom” commercial. As enjoyable as it must be to advertise t-shirts and underwear while eating fruit on television, the four men above are not actors. They are, albeit quite expressive, proficient musicians. Though they shoot some of the most unconventional promo pictures that I have ever come across, those men pictured are all members of Brooklyn’s own The XYZ Affair. Also, I bet you would have never guessed by looking at them that they got their band’s name from a high school history lesson because, as we all know, the actual “XYZ Affair” occurred in 1797 when France got a bit peeved over some evidence that showed America siding with Britain over France. Thanks Wikipedia! It is not surprising after all, as the members of The XYZ Affair all were knowledgeable enough to attend the prestigious NYU. NYU also served as the origination point for the band, as multi-instrumentalist Alex Feder, keyboardist/guitarist Russ Maschmeyer, bassist Chris Bonner, and drummer Sam Rockwell all met at the university sometime around 2000. The fellow Brooklynites hit it off quickly, writing songs at a rapid rate as their campus began to take notice. After releasing a few EPs, The XYZ Affair began to build a steady fan base around NYC with their catchy and accessible form of modern power-pop, eventually landing gigs at respectable NYC venues like the Mercury Lounge. They are currently touring the East Coast and are set to play a show with Dappled Cities on August 17th before they head down to Georgia for two gigs.

Though The XYZ Affair remains unsigned, that did not stop them from self-releasing their debut album, A Few More Published Studies. After several listens, it is safe to say that it should only be a short matter of time before a label picks them up. Delivering infectiously voluminous choruses over heavy power-pop, their music will draw immediate comparisons to Weezer, Ozma, and other geek-rock heroes of the 90s. Distinguishing their sound as “arena rock by music school kids”, The XYZ Affair proudly pronounces their passion for arena rock and power-pop in each and every song on A Few More Published Studies. Much like the majority of Weezer albums, A Few More Published Studies does not reach even forty minutes in length, stretching across only ten songs. The XYZ Affair makes the best of the time spent though, as each song provides a newly individualized pop hook that allows for imperatively distinctive qualities, a trait that many artists foolishly overlook. Speaking of hooks, there are quite a bit of them on A Few More Published Studies. Unforced and whimsically refreshing, tracks like “Little Fool” and “Ideals” burst with raw power, presenting commodious groups of varying guitar riffs over reflective melodies echoed by illustrious vocals and vibrant keys. Given its factors of cohesiveness, “Little Fool” should be the blatant choice for the album’s debuting single. Apart from its devastatingly infectious chorus, the added synth lines prove to be highly effective in relaying and enhancing an already stellar melody. The backing vocals are another impressive, subtly harmonizing in high-pitched croons of glee as The XYZ Affair takes a cue from one of their biggest influences in the Beach Boys. “The best thing that a girl can do,” Feder sings during the soaring chorus, “is be a beautiful little fool.”

While hook-orienteds structural components prove to be a necessity in the production of successful power-pop songs, The XYZ Affair manages to make the common occasion fervent and exciting. The structural tendency of every song tends to be in the form of the conventionally repetitive verse-chorus-verse-chorus, though it is a rare occasion to expect less from a band of The XYZ Affair’s stylistic nature. They hardly raise the bar in terms of innovation, but to many listeners it does and should not even matter. Most of the content on A Few More Published Studies is just catchy as hell regardless. If I were not aware beforehand, I would have most certainly mistook “Ideals” for an Ozma song. Serving up the typical makings of an epic 90s arena-rock/power-pop ballad, Feder supplements the latter part of the explosive chorus with a guitar solo that serves as a form of instant gratification. A similar formula is applied in the similarly excitable “Until They Go Wrong”, this time using the picking patterns of an electric guitar to signify the beginnings of the outro before the evident mini-solo takes over conclusively. The only song on A Few More Published Studies that chooses to hold back on hooks and solos is the acoustic “The Oceana Roll”. Lush and restful, the lack of a rhythm section is a change of pace on the album but it also proves to be an enjoyable break from The XYZ Affair’s typical attempts. With the last lyric being “for you I’ll dance the only dance I know”, it is ironic that Rockwell, the drummer whose instrumentation is absent from “The Oceana Roll”, is the one who could probably relate most to the line. He initially was a ballet major in college. Hey, the dude must have good rhythm.

One of my favorite tracks on A Few More Published Studies, “Academics” is a very observant stab at contemporary society. “We need more academics, the world needs academics now,” Feder muses, later raising the question of whether or not academic pressure is an attributing factor to the degree of social isolation one feels during their school years. The verse contained in the first fifteen seconds oddly sounds like some Xiu Xiu snippet, with Feder sounding eerily like Jamie Stewart over a minimal incorporation of percussion and synth. Expectedly, when the chorus arrives, “Academics” evolves into the form that The XYZ Affair are known for – that is, lovable power-pop that is frequently uplifted by a substantial chorus and an even bigger guitar solo. The lyrics throughout the album are also entertaining, often focused on romantic flustering. Whether it be squeaking “I’m scared of every girl I see” on “Academics” or “My name is Michael, all the chicks hate my guts” on “All My Friends”, the four Brooklynites never create a dull moment, either lyrically or melodically, on A Few More Published Studies. With a plethora of creative hooks to provide for more than enough durability, several songs on The XYZ Affair’s debut make a lasting impression.

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The XYZ Affair – Little Fool

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The XYZ Affair – Academics

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The XYZ Affair – Ideals

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Some bands just have to work harder than others to achieve success. It is a common fact that is based on luck, drive, and, most importantly, how important individuality is to the members at hand. When Picastro released their debut in 2001, they could have easily latched onto what was hot at the time. Within the same several months that new art-rock acts like The Strokes, The Libertines, and The French Kicks were unveiling themselves as the first true indie fixtures of the decade, it seemed to be an accessible time to be a new artist. Post-punk idolizers knocking around excitably simplistic riffs to create concisely catchy songs were the norm at the time and it was surprising to see a new band who dared to actually explore an entirely new sound. Picastro emerged with Red Your Blues in 2001, an album that abandoned all materialistic desires for radio play, instead focusing on the artistic intent to relay heartwrenching emotions of melancholy and regret through intricately layered instrumentation primarily consisting of strings, guitars, and percussion. The emotions are brought out by frontwoman Liz Hysen, a gifted songwriter who sings and plays guitar on the majority of Picastro tracks. She is the definition of an individual who does not let obstacles stand in the way of their dreams. Hysen is genetically deaf, a trait that is simply the most unpropitious trait for an up-and-coming musician. Regardless, Hysen does not want sympathy nor special treatment. She is proving that anyone with drive, regardless of most circumstances, can accomplish what they desire with the right mentality. (UPDATE: As it turns out, Hysen is not deaf. Just a media mix-up (her family genetically is, not her). I apologize for the error. Regardless, her efforts are very impressive.)

During their eight years or so in existence, the Toronto-based Picastro has had a revolving door of members circulating around the central fixture of Liz Hysen. Currently, the lineup consists of guitarist/vocalist Hysen, cellist Nick Storring, and drummer Brandon Valdivia. The three are the main participants in the group’s third album, the bleakly titled Whore Luck. Those are certainly not the only three lending a hand though, as Picastro has somehow enlisted the aid of two figures who are known throughout several indie circles as the epitome of honest talent. Perhaps it was the downcast scenery that drew them in. Even though Hysen finds it “shocking”, people have told told her that Picastro’s music is often “too depressing.” Oh well. Their loss. For fans of Picastro, it may come as no surprise that string whiz-kid Owen Pallett collaborated with Storring to write and play all of the string sections on the album. Pallett was a former member of the band, making Final Fantasy (his solo project), Arcade Fire, and Picastro his main sources of steady work, even if that is the tip of the iceberg in regard to his list of musical credits. Pallett could be considered the Van Dyke Parks of this decade, being the most in-demand artist specializing in strings throughout most independent music groups. The other collaborator is a bit of a surprise.

Xiu Xiu’s Jamie Stewart breezes through the haunting cover of The Fall’s “Older Lover” with natural ease, seemingly used to the atmosphere of sullen emptiness and loneliness, all dealt under a perversely creative cause. Vocals barely above a whisper, the dual vocalists work in a joint effort under a brooding piano and experimental percussive elements, revealing topics of Stewart’s usual lyrical substance in regard to fetishes, teenage sex, and pedophilia. Somehow, he makes such disturbing elements seem intellectually sagacious, serving as more of a satire than anything and most likely just how Mark E. Smith intended it. Stewart’s vocals are merely a backdrop but his musical influence is noticeably profound and evident. The ominous atmosphere relived through “Older Lover” is extremely similar to the vein of Xiu Xiu’s fantastic style, weaving initial minimalism through expanded layers that in turn bring a sense of chaotic urgency to tracks that, despite the eerily unconventional nature, come off as works of expression that echo a blatant distaste for contemporary society and the selfish ideals of the common individual. If “Wig Master” had more of a musical flow and “Yellow Raspberry” was less vocally up-front, “Older Lover” could had served as a distant cousin.

Like their previous two albums, Picastro’s third effort is one of the most melancholic releases of the year. This is the type of music that makes Grizzly Bear seem somewhat optimistic. The strings, supplied by Storring and Pallett, are usually a main cause for this in partnership with Hysen’s chilling vocals. “All Erase” is the definitive example of an effective Picastro track, incorporating Hysen’s piercing cry of a voice over strings that boom and bustle hectically with ardent emotion. The strings utilized in tracks like the unnerving “Albonis” and the oddball experimental “Towtruck” has caused me to wonder if there is any genre that Pallett cannot tackle (UPDATE: The strings on “Towtruck” were arranged and played by Liz Hysen, later remixed by Dwayne Sodahberk. Hysen also did the string work on “Albonis” alongside Nick Storring). From the pleasant string-oriented pop songs of his solo project to the ambitiously familial epics of Arcade Fire, Pallett’s masterful approach of lingering melancholy on Whore Luck is outstanding through his usual assortment of strings and theoretical grasp. It almost seems to make tracks like the more predictable “Friend of Mine” and “In The Weeds” come off as radio-friendly pop songs. Still, they remain ambitiously consistent, focusing on themes that cause people to lower their heads in shame. Then again, I suppose that someone who can cover Mariah Carey effectively using self-created loops can do just about anything. It is nice to see that Picastro is just as stylistically touching as they were in their first time albums. Their third consistent release in a row is a feat that is rarely accomplished nowadays, making the cause for admiration certainly justified. Whore Luck will be released on September 11th.

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Picastro – Older Lover (with Jamie Stewart) (The Fall cover)

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Picastro – All Erase

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Picastro – Friend of Mine

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Oh, Jamie Stewart, how your fans adore the bluntness you possess. As the ever elusive frontman of Xiu Xiu, your music has enchanted us with a form of boldness and lyrical perspective in which we rarely see in these drab days of repetitiveness. As it goes, it would be incredibly easy to define Xiu Xiu as “experimental”, though isn’t it rather blatant that Stewart and his sidekick/cousin Caralee McElroy have a clear and distinct purpose in each and every song? Throughout their five studio albums, most of which were produced formatively by Cory McCulloch, Xiu Xiu has defined themselves as one of the only modern bands in which it proves difficult to suggest a preceding influence. As the band tweaks various genres including but not limited to punk, folk, and ambient noise, even the most vivid of descriptors have a difficult time relaying the sound of Xiu Xiu in a literary sense. This state of bewilderment and lack of definitive classification often causes a rift between die-hard fans of Xiu Xiu and those who feel a painful twinge at the very thought of them, creating a very thin line between these two groups. Recognizably, Xiu Xiu holds two radical sides between those who recognize the band as creative messiahs and those who find the musical style to be utterly repulsive and intolerable. I have heard people use terms like “clutter” and “messy” when describing Xiu Xiu just as much as I have heard the terms “stunning” and “jaw-dropping”. I have rarely met an individual who was indifferent after hearing Xiu Xiu; it was wholeheartedly either a love-it or hate-it affair.

So, what can this separation be accredited to? Could it be Stewart’s highly interpretable lyrics that often carve into topics of politics, drug abuse, homosexuality, domestic violence, and religion? Or perhaps it is the frantic styles of instrumentation that the band implements through a flurry of percussion and various exotic instruments. You know, it could also be the band’s lack of structural commitment, as every song sounds quite different from one another while listening on a personal level. Well, in my opinion, that should be considered an aspect of quality in this flawed modern era where musicians are often defined by how well they can mimic great musicians of the past. However, Xiu Xiu is one of those rare bands who have no other artists to mock or duplicate. They are one in their own and they have continued to be one of the most creative bands imaginable throughout each of their releases; a quality that even the hard-nosed skeptics should begin to appreciate over time.

As you may have been able to tell by now, I am on the side of those aforementioned pro-Xiu Xiu fans. You know, the type that did not even judge Xiu Xiu’s music in a different light after finding a photo of Stewart engaged in a certain sexual situation with a horse, whether it was later proven false or not. Sure, you can go ahead and call me biased, as I did name Xiu Xiu’s The Air Force as my favorite album of 2006 after all. It was an evident example though, as most year-end lists from music publications either picked Xiu Xiu’s album as number one or left it off their list entirely, barring a baseless insult. The separation between critics on Xiu Xiu is oddly similar to the individuals who listen to it, being a rare showing of a waivering point of indifference. When Stewart announced in 2005 that Xiu Xiu was going to collaborate with Italian experimental-rock five-piece Larsen, I was hardly surprised. While Larsen is known for their unconventional method of musical authoring, their style of rising to the top is even more fascinating. When Larsen formed in 2001, they set their sights on acclaimed producer Michael Gira (Swans) to produce their debut album. With Gira’s prominence seemingly out of reach for the five unheard-of musicians, they devised a plan and began to send Gira a set of demos twice a month for several months, always on the 1st and 21st on the month. Eventually, they included a letter with airfare and pre-payment for production fees in a plea with Gira to produce their anticipated album. Based on the curiosity and commitment of the mysterious band, Gira complied. And if you thought that was odd, Gira actually never saw the band during the production of their well-received debut album, Rever. They worked behind a screen and Gira relayed his messages through a translator, making the success of Rever even the more impressive.

Xiu Xiu and Larsen overlapped in the peaks of the careers, with Xiu Xiu just having released La Forêt and Larsen with two respectable albums under their belt. Deciding on the apt name of Xiu Xiu Larsen, the large group set to work on Xiu Xiu Larsen’s debut album, Ciautistico!, and released it later in 2005. Fans of both Xiu Xiu and Larsen ate it up for the most part, as it was primarily a more ambient experience of Xiu Xiu with Stewart’s vocals playing a more drawn-out atmospheric role. Lyrics were often indescribable, with the only song in the mold of traditional pop being snippets of the excitable “Prince Charming”. Still, their ambitious nature led to receptive reviews and followings from those already enchanted by the band’s engaging spell. In the following months, Xiu Xiu went on to release the exceptional The Air Force and Larsen followed it up with their third album, SeieS. Though both bands still have tentative plans to release an album from their original projects later this year, Xiu Xiu Larsen’s sophomore album, ¿Spicchiology?, has taken me by surprise and was released on May 15th. Like Ciautistico!, it was recorded in Torino, Italy. Stewart and McElroy returned for Xiu Xiu, while Fabrizio Modonese Palumbo, Marco Schiavo, Paolo Dellapiana, and Roberto Maria Clemente handled Larsen’s contributions.

In one of his online ramblings, Stewart described the oddly titled ¿Spicchiology? in a vaguely absorbing way. “If the last Xiu Xiu Larsen record was romantic and fun,” he said, “this one is broken and superior.” I suppose he means to “broken” as in much darker, more ambient, and defiant. It is true, ¿Spicchiology? is arguably the darkest thing either members have put out. Though “Daydrinking” is supplemented by bright keys, the melody is dim and presents a feeling of paranoia and uneasiness. Such unwanted and fearful feelings appear to be the primary objective of this fascinating record. Other than the voluntary “Little Mouse of the Favelas”, there are no tracks that will make you want to get up and move your feet like “Save Me Save Me” or even bob your head like “Pox”. Yeah, “Little Mouse of the Favelas” is as conventional as Xiu Xiu Larsen gets on ¿Spicchiology?, with a Stewart-McElroy duet leading the way through a murky set of illuminated keys, rhythmic guitar patterns, and repeating percussion. Even in the midst of all these gloomy tracks, “Little Mouse of the Favelas” stands strong. Several songs, specifically “Last in the Society”, maintain a strong emphasis on the value of human life, incorporating a slight beeping to be reminiscent of a pulse in dire need of revitalization.

The epic “The Tale of Brother Cakes and Sugar Dust” should find a place in the heart of those who admire tracks which steadily build up to a level of high energy. Beginning with a slight buzzing and set of vocals, it collapses into an weary setting of distortion and ambiance, an alternation to the clicking effect used throughout the cadaverous opener, “So Easy, So Cheap”. Apart from “Little Mouse of the Favelas” and perhaps “Daydrinking”, ¿Spicchiology? is by no means typical of the most recent releases from Xiu Xiu or Larsen. The majority of the eight tracks on ¿Spicchiology? depend on atmospherically ambient qualities, forming a perpetual realm in which may be understandably too difficult and complex for others to dwell in. However, if you are a fan of the more ambitious material from either Xiu Xiu or Larsen, ¿Spicchiology? should not be missed. Though some may scoff when Stewart calls Xiu Xiu Larsen a “supergroup”, they are one in their own niche. It would be strenuous to find another group of collective musicians who can instill a similar degree of paranoia into individuals through the power of music.

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Xiu Xiu Larsen – Little Mouse of the Favelas

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Xiu Xiu Larsen – Daydrinking

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Xiu Xiu Larsen – Last in the Society

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Official Web Site (Xiu Xiu)

BUY

The post Xiu Xiu Larsen Returns to Italy to Record ¿Spicchiology? appeared first on Obscure Sound: Indie Music Blog.

Most of us know about the Bears from Chicago. Yeah, the disappointing football team whose promising year was ruined by a grinning quarterback from Louisiana. But what about Bears from Cleveland, Ohio? Unlike their football counterparts, this fun loving band is poised to have another great year in 2007. Originally consisting of the duo Craig Ramsey and Charlie McArthur, both multi-instrumentalists brought their bedroom project Bears out of the closet after spreading them throughout Cleveland and later recruiting four more members to play with them live. Guitarist Patrick Tripto, bells and tambourine player Rachel Hart, bassist Sean Sullivan, and drummer Jared McGrath all joined the band after hearing the duo’s promising demos, which reflected the likable pop of indie staples such as The Shins and Belle & Sebastian. Their first demo was made in 2005 for Popfest in Athens, Georgia. The reason being was that Ramsey’s previous band, Kiddo, was invited to play there and Bears saw it as an opportunity for promotion. The short demo consisted of “Walk Away” and a bare-bone version of “Daydreams”, without the bass and Rhodes piano. After distributing fifty copies, several listeners enjoyed what they heard and started to spread the word. Ah, the power of circulation. After the demo, they recorded a compilation with folk artist Karl Jacobsen, a Chicago native who goes under the alias Cheap Relative Steel. It has yet to see a release date, but the band assures us that it is completed. Perhaps when they earn a well-deserved record deal, the unreleased songs will find their way out of the darkness. Yes, that’s right. As surprising as it may be, Bears is yet to be signed. After resorting to their own studio, the band released their excellent self-titled debut album Bears last April.

Bears is full of sparkling chimes, lovely melodies, and generally upbeat songs, with most of them being short but sweet by often falling short of three minutes. Their optimistic viewpoint is a breath of fresh air from the typical downers that inhabit the current state of most talented unsigned artists. Of course, you could attribute the word “twee” to their classification, though I have yet to warm up to that word. Sure, the bells and whistles make Bears sound “cute” at times, but the fantastic melodies and likable atmospheres that the band creates with a variety of instruments is what I am most impressed with. “Everywhere” is a nice little love song led by an acoustic guitar and a series of music box keyboards. The Zombies are a clear influence here, as indicated by the 60s-esque vocals drenched in reverb and cleanly modified melodies. “I want you everywhere that I go” is an example of the simplistically effective lines that Bears uses to create an atmosphere of innocent love that relies on actual feelings rather than lustful appearances. “How to Live” takes a bit of an acidic and psychedelic feel toward the band’s portrayal. The song is straightforward with a structure that sticks to the same path for the majority of the song. The organ progression is very engaging and entrancing, making the vocals seem like more of a vocal accompaniment, rather than an offbeat melody. The younger kids should love “When You’re Away”, a very likable two-minute ode that works over an array of bells and keys. Sure, the song is their best example of everyone’s favorite “twee” label, but another influence that pokes out at me is that of The Lucksmiths. If you’re a fan of twinkling keys layered over acoustic melodies accompanied by honest and heartfelt lyrics that are as simple as their name, Bears is certainly for you. Though it was released last year, it’s just starting to garner the proper attention of critics and fans. Either way, it just strikes me as surprising that a band of this caliber can remain unsigned for such a period of time.

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Bears – Everywhere

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Bears – How to Live

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Bears – When You’re Away

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Official Web Site

BUY

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Elsewhere: Did anyone else find this year’s Grammy Awards to be as lackluster as I did? I mean, they’ve been horrible for years now but the only performance I was thoroughly impressed with was the duo of John Legend and Corinne Bailey Rae. I suppose it was not a coincidence that all the artists who performed won their following award. Well, the one thing that kept it afloat was the introductory performance by the reunited The Police. They pulled of “Roxanne” without a hitch. Despite the simplicity of the song, the intensity was still there and it reminded me of some of their greatest hits. All three members of the band were in top form but I was impressed most with Stewart Copeland. He still drums and uses the exact same mannerisms as he did when he was in his 20s. These are complementary of Instrumental Analysis, so head over there for seven more of their greatest hits. Tour dates will be announced shortly, most likely at a press conference later today in LA at The Whisky.

The Police – Roxanne

The Police – Every Breath You Take

The Police – Message in a Bottle

BUY

UPDATE: Tour dates have been announced. Check them out here. It looks like a good summer to me.

The post The type of Bears from Cleveland; The Police are back appeared first on Obscure Sound: Indie Music Blog.

Some artists just love to do it the old fashioned way. While technology has certainly been helpful in promoting artists and creating new styles of music, one can easily make an argument that electronical equipment makes hiding musical flaws easier, even making “a shitty band sound really fucking good” according to Channing Lewis, guitarist and occasional vocalist of Grand Champeen. He continues making his strong point, saying that “it results in a recording with zero in the way of character”. The four members of the group based out of Austin, Texas agree wholeheartedly. They proudly state that their fourth album, Dial “T” for This was created “without the aid of Pro Tools or any other editing software”, making it quite a rarity in a contemporary music industry that is quick to abandon patience and hard work. Part of their reason for taking such precautious measures was that they admittedly called their previous album, 2003’s The One That Brought You, a result of pure sloppiness. “We had like six guitar tracks on every song,” Lewis states, “in order to just mask all our mistakes”. A bit too modest, perhaps? Some may consider their outlook a bit surprising, as The One That Brought You recieved primarily good acclaim, with publications such as Rolling Stone giving it a very reputable three and a half stars. Still, it shows good indication that Grand Champeen are never satisfied. Perhaps they are perfectionists, but hey, usually musicians who strive for absolute perfection produce welcoming results. Grand Champeen has actually been around since the late 80s, with guitarists and vocalists Michael Crow and Channing Lewis meeting drummer Ned Stewart at a boarding school in Virginia. The trio formed a band called The Frosted Megawheats in hig school, later adding Will Minor on bass. After releasing several local mini-albums, the four moved to Colorado after graduation in 1993. The four stuck together, forming a new band called Mucho Maas in addition to recording another album. Both albums are hard to come by, though I’m sure the current members of Grand Champeen would laugh at the musical immaturity in comparison to their recent work. Minor left the band a few years later and the remaining trio decided to rename Mucho Maas to Grand Champeen, adding Rob Hargrove on bass. They released their breakthrough debut Out Front by the Van in January 2000 and found quick local success through their catchy and accessible alternative songs. After the debut’s release, Hargrove left the band to pursue his law studies at the University of Texas. Alex Livingstone joined the band as their third in their existence, playing on their sophomore follow-up Battle Cry for Help and their breakthrough third album The One That Brought You. They also covered Elvis Costello’s “No Action” in a Glurp tribute album. For their fourth album Dial “T” for This, the lineup is finally settled with Crow, Lewis, Stewart, and Livingstone.

As Lewis has clarified for us a number of times, Dial “T” for This is certainly the band’s most mature effort. The album title serves as a slight tribute to Alfred Hitchcock’s classic thriller, Dial M for Murder, though the band also likes how “the soft th’ contrasts with the hard ‘T’ in a way that ‘M’ and murder do not”. Whatever their odd reason may be, the album serves as a very enjoyable collection of progressively mature. While their previous albums were more consistent in the style and tone of youthful distortion and fun power chords, Dial “T” for This focuses on the band’s admiration for several genres. There is more use of piano, vocal variations, and even strings (played by Michael Crow) on the short but pleasing opener “What It Beats”. A bit of a country influence is also slightly sketched on tracks like “Gonna Be the Death of Me”, showcasing a portion of the band’s natural Texas environment. Despite the various treatment of influences and new attempts, the band still show their best work in catchy pop songs such as the fantastic “Cities On the Plain”, which is a showcase of both the vocals of Crow and Lewis. Each back each other up through the irresistable chorus, which works through a hook in which the two’s vocals contrast nicely with each other their steady rush of guitars. “Wounded Eye” is another of the same catchy element, though this one borrows some common influences such as The Replacements and The Lemonheads. “Don’t litter me with your love,” the band chimes in at the perfect time, telling off an unlucky victim who confessed their love at an equally horrible time. The vocal range is quite impressive, especially during the last chorus where the vocals come only a few keys away from reaching early stages of glam, fortunately for only a very brief period of time. “Different Sort of Story” was written by bassist Alex Livinstone, showing why he should be their most coveted bassist of the previous two. A series of guitar chords is complemented by an occasional solo, all over a simplistic vocal melody that turns out to be quite effective in combination with the rapid rhythmic elements of Livingstone and Stewart. It looks like Grand Champeen decided to grow up a bit more for Dial ‘T’ for This, though no worries are necessary. They still have the proper youth to turn out some of the most excitably catchy songs of their career.

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Grand Champeen – Cities On the Plain

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Grand Champeen – Wounded Eye

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Grand Champeen – Different Sort of Story

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Official Web Site

BUY

The post Another fun one from Austin: Grand Champeen appeared first on Obscure Sound: Indie Music Blog.